#i love a compelling ending because this one>>>

[trustmypoison]

SVT when the company asks him to break up

Requested? Yes!

Request: ‘Agency telling seventeen to breakup with their s/o to save their public image and group from attacks or public scrutiny so what do you think, they'd react to controversy about their relationship and what they'd do? (i don't like unresolved or with sad ending angst but ig it's up to you however you wanna write it ^^) Love you 😘’

A/N: *deep breath* LET IDOLS DATE AND BE HAPPY!!

Might actually consider breaking up for his career - Jun, Hoshi, Vernon, Chan

I think they really love what they do, and someone in management saying that dating is a huge risk to his career would make him feel some fear. Don’t get me wrong, he would be majorly conflicted about it. But it would probably hurt that he’s even considering it. This one might have to be left unresolved, if only because it would depend on who would make the most compelling argument. I don’t think he’d feel good about any decision in this situation. 

Might actually consider breaking up for your sake - Seungcheol, Woozi, Mingyu

Would feel majorly stressed about this, not because of his career but because of how this strips away your privacy. He’ll ask if you want to follow the advice of the company to eliminate any risk to yourself. How you react would kind of determine how this plays out. If you feel a lot of pressure, either to maintain your privacy or to help him save his career, then he’ll suck it up and mutually end things. But he’d harbor a lot of bitterness if that’s the outcome. If you insist you don’t want to break up, then he’s sticking with your decision because he ultimately wants what you want. 

Will refuse to break up but might agree to keep things lowkey for a while - Jeonghan, Wonwoo, Seungkwan

Doesn’t even consider breaking up and will let the company know that upfront. But he’ll agree that things need to be kept on the down low for a while to let some of the tension subside. Letting the news die down would also benefit you, too, taking you out of the limelight when another top story comes up. He’d be borderline angry if you said that maybe you should listen to the company because while he loves his career, there will be a time when his career will fade, and he wants you around both now and then. 

Might actually sacrifice his career for love - Joshua, DK, Minghao

Might straight up threaten to leave the company. Might even dare the company to terminate his contract. Feels that it’s totally unreasonable to let the public or the company control his personal life and will stubbornly put his foot down to maintain his personal life the way he wants it to be. Will not hear a word from you about thinking about other options because there are none. Naturally, I think at their age and this far in their career, the company doesn’t have a leg to stand on when it comes to terminating a contract for that reason. 

[miwiheroes]

Dropping Byler Evidence Every Day Until Season 5

Day 5: Byler parallels with Jopper and Lumax

Decided to combine Jopper and Lumax into one post because a lot of them are similar and would actually be more compelling if they were all combined, being that Jopper and Lumax are definitely endgame (they arent in any love triangles or anything)

So again, I'm gonna name the parallel and how intentional it may be. Even if it's not fully intentional as a complete parallel, this still counts as evidence because using the same tropes for Lumax and Jopper as Byler means that they are all romantic.

1. I Lost You

The fact that Byler and Lumax's ones are in the same episode oh my god???? I honestly think this is intentional. While the 'I thought I lost you' thing is common in romantic tropes, to use it for three couples is very much insane and they must have noticed this. Putting the two in the same episode as well..... oh my god

2. Holding Hands

I think that the fact its a parallel is not intentional, but hand holding is just very very common as a romantic trope. It's also the truth that they actually create a separate SHOT for each of these moments too, to signify their importance.

3. A Team

(couldnt find a good screenshot with a caption for byler but there is alt text)

If you want two people to have believable chemistry, you make them work together well. It was never explicitly stated that Jancy were a good team, but you could tell. HOWEVER THIS IS JUST EXPLICIT they are spelling it out for u!!! Mike and El never really work together. They are a couple. But they aren't a team. They don't work together on plans, there's never any back and forth planning (like with byler in s3), and once again, it's never ever acknowledged by either of them that they work well together as a team.

4. On the Bus

Both heart-to-heart scenes use this song behind it:

Oh this is highly highly intentional. You do not just use romantic, TENDER EMOTIONAL music for one couple who are definitely romantic, and then put that in the background of a platonic scene. The creators are literally screaming at u guys here <3 THIS IS SUPPOSED TO BE ROMANTICCC HELLO

(also both these scenes end with them smiling at the other and they get interrupted by a noise before anything else can happen)

5. We have to kill it

Sorry guys i totally forgot to include this one in the Jancy parallel post but literally fucking LOOK!! This is intentional to me because it is very specific, and if it's an accident that they all want to kill something and the other one agrees, then it still shows that these couples have chemistry because they are on the same page. AND one of them is reassuring the other, foreshadowing that they are gonna be a team in the next season.

Jancy are a team in season 2 after they have this convo in season 1, and Jopper are a team in season 3 after having this convo in season 2. So byler will be a team in season 5.

6. Staying in the Hospital

Honestly this one's just cute, and recontextualises the fact that Mike peers over Will on the bed, and stays by him (even though it doesnt really need recontextualising). The fact that its very romantic and cute for Lumax to do it should mean the exact same thing for Mike to do it.

7. Looking longingly at someone who's pulling away

erm this one is just so clear to me. Not exactly intentional but like- the thing with staring at someone longingly just to have them not look back at you is very slow burn romance. The fact that it's very obvious to ppl that Max is definitely aware of Lucas staring at her, but can't stare back because she's afraid to hurt him/ afraid to show her feelings again definitely parallels Mike too.

Also both Lucas and Max SIGH before going back to what they're doing...

8. TENDER EMOTIONAL MUSIC

so a tender emotional music scene for jopper makes it feel romantic:

Sooooo.... doesn't that mean that it applies for byler too?? Who had it done to them not one, not two, but THREE TIMES IN SEASON 4???

AND LUMAX HAS A SCENE WITH THIS TOO

Thanks for reading yet another long ass post :))) The next ones probably going to be Rovickie parallels because they actually have so many after doing my research so yeah

[thealogie]

i desperately want to hear your review of conclave

It’s one of my fave movies of 2024 actually i was just disappointed in the last third.

I love the first 2/3 of the movie. It reminds me of succession. It’s like, ok accept that you’re going to have some empathy for people who are operating in an inherently corrupt morally bankrupt system but trying to operate within it according to different set of values/morals that are real to them. Super compelling. People trying to do what they view to be the right thing even though the system is rotten to the core. I love that.

But then Benitez gives a lukewarm speech that’s like “let’s not be reactionary and right wing, the godly thing to do is to actually love everyone <3” and you’re telling me members of one of the most corrupt political institutions in the world are so moved by this speech they vote with their hearts for a guy they just met instead of thinking what’s best for them politically. Get OUT of my face. Makes no sense and also that one speech is not enough for me to buy it emotionally

The part about Benitez being really genuinely good and also the previous pope helping him I could buy because again it’s about goodness on the small scale being possible in corrupt systems but I didn’t buy the vote. And thought the Catholic Church doesn’t deserve the feel good woke ending

[alacants]

inspired by that ask: i guess this begs the question of what jannik is to carlos, what he sees/saw in that man that nobody else did etc like. does carlos ever resent him / their rivalry / janniks sometimes lack of reciprocity? is it complicated for carlos too? what is it about that carrot that is so compelling to someone like carlos

boy have i had a lot of thoughts about this one. presumably during that one magical night match in alicante there was tennis chemistry. as a tennis savant himself carlos can sense the It Quality in someone else. but the response, as a promising young player, to identifying  talent in another player is not by definition that you talk them up constantly for the next several years. it is not by definition to call them your one and only rival. so carlos doing so could be because of something very special about jannik himself. (for rpf purposes: love at first sight, soulbond, overwhelming thirst, you name it.) or it could be because of a more general hunger. 

namely, the hunger for someone else who gets it. a hunger which would only intensify the better you get. if you are a prodigy, no one else is going to understand your exact experience but another prodigy. (this is 1. the kiss of death for runeraz 2. juanki & carlitos bedrock. in whatever way you wish to take that.) 

hopefully it's obvious that this does not mean that's the only path to a meaningful relationship—you can take this idea, or this assumption, and go a million places with it. (what if the two of you shared the same experiences but have diametrically opposite takeaways, what happens when you stop being a prodigy and they don't, what does it mean that someone who doesn't get the experience still gets you.) but it is undeniably a very very specific experience. and it's pretty normal when you're early in the process to think, my friends and loved ones don't get it, and i really really really want someone to get it.

meanwhile, jannik has expressed, more than once, doubt about the worth of the relationships he's formed after becoming successful—he's said that he knows his old friendships are the real thing because they have nothing to do with tennis. he's said that thanks to clostebolgate he knows who his real friends are. he's experienced a rapid version of the prodigy hype/backlash cycle: this kid is a surprise talent??/this kid doesn't have it after all/grand slam vindication/doping backlash. he does not trust this environment, or most of the people in it.

i see it as: carlos has never experienced real serious negatives as a result of his talent and passion for tennis. (broad generalization but: stayed close to family, supportive and stable coaching environment, financial stability, quick and overwhelming success, no serious injuries or psychological breakdowns or reputational scandals. so far!) tennis is inarguably a good thing, and he wants more of a good thing. whereas jannik's experiences with tennis have been much more emotionally ambiguous—significant personal sacrifice leaving his family at a young age and struggling to secure finances, the choice between a close personal relationship and the professional success that would validate those sacrifices, clostebolgate. 

so one take on this is that carlos feels that tennis is more real than real life, and therefore his non-tennis loved ones are missing out on something essential, and jannik feels that tennis is less real than real life, and therefore his non-tennis loved ones are the only ones whose love he can trust. (interestingly it's probably darren and simone who are doing the most damage to this emotional barrier over the past six months. but in rpfdom carlos would sure as hell be trying haha.)

i think what i'm saying is that i really want to read the jannik/tennis slowburn, where tennis is carlos???? 

drifted pretty far from your ask here so to end on a lighter note. it has to be the tennis, because if you put aside the tennis, WITH LOVE AND LIGHT TO JANNIK, you're left with lanky floppy carrotman vs teen thirst trap machine. (i love lanky floppy carrotman. im just saying.) this is something that only further sells me on the ship, the fact that i honestly do NOT really see it but carlos apparently does. there is a thing my friend and i refer to as "seeing CarlitosVision", which is when a certain photoshoot/styling choice/video angle/trick of the light captures jannik in such a way that he looks, like, objectively hot. the difference is that jannik looks like this to carlos all the time. 

(yes jannikblrs i know that he also looks like this to you guys all the time. that is exactly the point.)

[bigriceenthusiast]

guys i know arcane is fundamentally a tragedy okay. i know this i promise you

and i feel like i'm not gonna be as articulate as i'd like about this but it felt like one those tragedies where it's like the love was there and it changed everything right. the characters could've done everything differently but they wouldn't have. the love was there (thinking of jayvik for example)

however. i just. don't like what they did with jinx?? OKAY DISCLAIMER SHE'S MY FAVORITE CHARACTER OKAY I'M SORRY but i just hate the fucking "curse" so much like it just doesn't feel as poignant and beautiful and thoughtful as the rest of the show for me?? like season 1 jinx was amazing i loved what they did with her but season 2 jinx just felt like she was there to get thrown around if that makes sense?

"everyone close to me dies" is a fine plot and whatnot but what about "but they don't. and now i have to face my own actions and active role in what i let myself become. in what i let others turn me into" because all the other characters felt so much more like people making decisions? for jinx it's like everyone close to her dies and that's her curse and they just. won't subvert that? but defying this idea of the curse and giving this character agency in the now lucid state we saw her in with isha would've made such a compelling arc AND given isha the opportunity for more depth

idk maybe i just loved her and isha too much and i'm being delusional but i think the storyline of her having to accept that the curse was in her head and having to heal from THAT because oh shit suddenly death is real and i can become an active agent in my life and addressing that almost unconscious victim complex would've hit so incredibly fucking hard and been a good way to expand on healing and building something new like ekko said too

i know the curse was a metaphor but literally everyone close to her did die up until she disappeared in the finale which is just. such a weird ending for a character that struggled with extreme paranoia the way jinx did

or maybe therapy has been fucking me up and i'm projecting who knows

[meglosthegreat]

So... everyone pretty much hated Veilguard's "secret ending", right? Beyond speculation about the Executors themselves, I haven't exactly seen anyone excited about its presence, and for that matter, haven't seen many people talking about it at all.

The closest way I can describe my initial reaction to it was an immediate, visceral disgust. I think I remember uttering at my screen something along the lines of "Fuck off! What the fuck?! Are you fucking kidding me???" and ever since then I've wanted to put into words exactly why it made me feel that way.

For the 88% of you (according to Steam achievement statistics) who didn't see this ending due to not picking up three very specific codex entries by complete chance, you can watch it here. In short, the clip depicts a mysterious voice who sounds suspiciously like Matt Mercer talking about how a group of shadowy figures has "balanced, guided, and whispered" over scenes of villains from the previous DA games, implying that these shadowy figures have been at least partially responsible for all of the bad things happening in Thedas, towards some unknown nefarious purpose.

Now obviously, this sucks. This is hamfisted, unimaginative writing that simultaneously retcons and re-contextualizes elements from DA's past that absolutely no one thought needed further explanation, as well as being exactly the kind of irritating sequel-bait tactics that people have largely grown tired of these days. But why does it suck so much? Why did I feel such palpable distaste for this scene?

For starters, it simply reeks of entitlement, and a lack of respect towards Bioware's own past games. Remember those villains you loved and thought were compelling? Well, their own personal, very complex and thought-out motivations were really just the Executors whispering in their ears the whole time! Loghain making a difficult and calculated decision at great personal cost for a greater good he truly believed in? Executors. Bartrand succumbing to his own greed to the point that he betrays his only family and devolves into a tragic husk of himself? Executors. Corypheus and the Magisters breaching the Golden fucking City??? Executors.

Ignore the infuriating lore ramifications for a second and consider: what do all of these things have in common? They're all instances of complex character motivation; of people in this world doing things for their own reasons that ended up having massive ramifications. In short, they're not events that can be explained easily in terms of black and white morality. And from what we've seen in Veilguard, the current dev team has a serious inability to work with any story elements that do not have absolute moral clarity: the Venatori and the Antaam are Evil. The Shadow Dragons and the Crows are Good. Any nuance; any potential questioning of this duality is quickly explained away or snuffed out.

And that's exactly what they're trying to do, retroactively, with the rest of the series. Having a hard time deciding whether Loghain was right or wrong? Well, worry not, the Executors are Evil and if they were guiding him the whole time, then what he did must have been Evil too! Grappling with how the plot of DA2 was about the inevitable tragedy of a series of oppressive systems reaching their natural breaking point? Well, wrestle no further, for if the Executors were involved then Meredith and Bartrand must've been Evil, no question! What the Magisters did was definitely Not Great, and what do you know, there were consequences for it that they and the whole world very much did pay for. But if the Executors were behind it all, then it was someone else's fault, some Evil power reaching in and making them do what they did, rather than their actions being the result of a horrific series of power abuses done by actual people.

Which leads me to where my initial disgust comes in. Because in a world which has always had core themes of power and its many abuses, actions that have consequences, and the idea that there are no true higher beings; every horrible thing that has ever been done was done by people, the simple act of putting shadowy figures behind key moments in history completely debases and neuters all of those themes. The whole point of Dragon Age as a series up until this point has been to illustrate the complex relationships people and societies have with power, choice, and morality. To remove that link - to place an external force between those characters and their choices - is to rob the series of any meaning whatsoever.

There is a staggering difference between the messaging of a game that tells you ordinary people are to blame for society's wrongs and a game that tells you a secret shadowy faction of evil forces are to blame for them. The former invites thought about one's own society; it has the potential to be uncomfortable and difficult to reconcile with. The latter assures its audience of the fantasy it is couched in. It gives the audience a boogeyman to be angry at, and in so doing deflects any potential for introspection. And that, I think, is the real point of the scene in question.

In a time where our media has become inundated with bland, unchallenging liberal politics, the idea of "cozy" stories have become a growing trend. These types of stories often sport a broad rejection of complicated themes, painful emotions, and nuance, preferring instead to provide a "safe" place to escape to. And with that "safe" space comes a directive not to engage in critical thinking about a work, and not to draw any message from that work and apply it to the real world. Yet this is exactly where Bioware seems to be heading nowadays.

Veilguard has already been faced with heavy criticism about playing things overly safe; removing anything that might be potentially uncomfortable for the player. And the end credits scene is no different. Don't think about things too hard, it whispers to you seductively, in Matt Mercer's soothingly Evil voice. See? The Bad Guys were behind everything, all along.

[1moreff-creator]

Imagine Project Eden's Garden Chapter 1 but the victim and killer are reversed.

Alright, I’ve imagined it. Thanks for the ask!-

Ok no, I’ll give a proper answer ‘cuz this seems like fun xD I ended up writing a lot more than I’d imagined damn.

Spoilers for P:EG CH1. CW: Murder, stabbing, manipulation, mention of hallucinogenics

I guess the first big question is how exactly we get to a position where Wolfgang actually wants to kill Eva, and presumably want to get away with it so that the trial doesn’t last only two seconds.

The option I’ll go with is to stick to canon for the most part; Wolfgang goes down to the boiler room at 8:15, and Eva ambushes him. However, in this hypothetical, Eva doesn’t manage to hit him with the rolling pin, and instead Wolfgang defends himself, stabbing her in the heart. He makes his escape, keeping the note he received about meeting in the boiler in his pocket.

He’s probably covered in blood by this point, so he’d probably try to make it back to his room without seeing anyone in the hall. Let’s say he manages to do that, changes, washes off the blood, and quickly hides the bloody clothes under his bed or something (no one’s gonna check his room this time ‘cuz he’s not dead). I’ll say he left the knife at the crime scene, though, ‘cuz why not.

Now, before we move on, I have to say that this is twisting Wolfgang’s character quite a bit. I think he’d feel bad about killing Eva, though he’d try to assure himself he’s in the right because Eva tried to kill him and that makes her the irredeemable murderer and not him, or something like that.

However, I’m really not sure he’d actually try to win the trial. Maybe he’d try to convince Tozu to let it slide because it was self-defense, but we know that wouldn’t fly, and I don’t think Wolfgang would push further. However, for the sake of the hypothetical, let’s say that Wolfgang’s ambitions of greatness push him to self-preservation at all costs, so he tries to win the trial. I think that’s also fairly possible, maybe.

With that established, let’s move on to body discovery! While the gaming crew would probably look around for Eva when they notice she never came to set stuff up, the first discoverer would likely be Diana, going to the boiler at 8:45 because of the note she received. She becomes a suspect because of that, but in the trial, Damon and a few others are quick to make the others turn their attention to the crime itself before pointing fingers.

That would also include Wolfgang himself, believe it or not. While Eva was decent at being a blackened, Wolfgang would probably be even better. So, what’s his strategy?

I think Wolfgang would try to spin a narrative that paints Eva as some form of hero. Since Diana was her roommate, he could argue that Eva managed to read the letter Diana received before the day of the murder, and that she may have gone down to the boiler room to case out the scene and make sure Diana wasn’t walking into a trap. He’d argue that the presence of the battery, the hallucinogenic (which I’ll say was already in the boiler room and Eva wasn’t carrying it around to facilitate some things), the extension cord in the vent, the taser, etc., all implied the killer had a more elaborate method in mind, before Eva walked in on them and started a fight. The presence of two weapons in the crime scene reinforce the idea of a fight.

Why would Wolfgang do all this? To get emotional. If he paints Eva as a fallen hero, he can pretend to despise her killer with the same intensity as he hated the killer from the prologue trial. He’d act melancholic about Eva, pretending to regret ostracizing her now that he knew she truly cared about Diana. He’d shout about how the killer deserves death, for trying to kill someone as nice as Diana, only to then kill the person who tried to protect her. It’s a compelling narrative, that the others would love to believe for its simplicity and emotional weight. Diana especially, since she’d love to believe Eva really cared that much about her.

But why? Why would Wolfgang do this? Because he desperately needs to convince one specific person not to speak. He needs to make one specific person believe in his innocence wholeheartedly, for if this person were to ever think Wolfgang might be the killer, then their testimony could end the trial in one fell swoop.

And that person is Toshiko.

Because Toshiko saw Wolfgang leave his room at a time close to the time of death, and he said he was going to the gaming tournament. Since he never showed up there despite being very clearly alive, that immediately casts doubt as to where he actually was, and then he’s cooked.

Grace’s testimony isn’t damning on its own; Wolfgang could have been genuinely sick in the morning, only to get better later. It’s only with Toshiko’s testimony that his sickness comes into doubt, after all. As for Ingrid hearing Toshiko and Wolfgang talk, Wolfgang could say that happened in his room and that Toshiko just saw him walking past, and Toshiko would go with that based on their agreement. That’s why Toshiko’s testimony is the most important here.

So, right as the investigation starts, Wolfgang would pull Toshiko aside, and tell her not to spill the beans. He’d come up with some excuse for his lie about where he was going (maybe he’d say he wanted to meet with someone to discuss the motive, and he was worried she’d try to eavesdrop), and ask her to hear out what he had to say in the trial before telling anyone else what had happened that morning. He’d tell her that her testimony would only confuse people, because there’s no way Wolfgang’s the killer, right? So don’t say anything. And she’d oblige, because everyone loves Wolfgang! No way he’s lying!

And once he gets the story about Eva being a hero going, Toshiko would probably convince herself that Wolfgang hates the killer too much to be the blackened, and would continue to oblige with the vow of silence, for a while. This is the main purpose of Wolfgang’s narrative.

As for who Wolfgang would push as the blackened, uh. It needs to be someone without an alibi at 8:15, so while Damon (the first possibility I thought of) is more or less on the table, it’d have been risky for him to leave when Kai was still asleep. I think going for Wenona would be Wolfgang’s best bet, as he could argue her cutthroat attitude as the Ultimate Entrepreneur would make her the likeliest to kill first. I’m assuming here Wenona’s alibi doesn’t stretch to 8:15 btw, but I’m not sure we know that for certain.

However, the blackened never wins. Wolfgang’s narrative would fall apart when Damon points out a glaring issue with his story; Eva’s tablet. Although they’d have no idea where the tablet came from, the fact is, Eva had it (uh, let’s say she was already carrying it around in her pocket okay?), not the blackened. This is a problem because it means Eva had no reason to go down to the boiler room to “case the scene,” as Wolfgang would be arguing. She’d just check the cameras.

From there, Damon is quick to realize that Eva herself was probably the one planning the crime with the battery, based on the rolling pin. While I doubt he’d want to figure out the entire mechanism behind Eva’s plan, he’d at least figure that using a rolling pin to knock someone out was more likely to be part of said plan than using a knife to do literally anything. That would further imply Eva was the one with the plan, and that the killer was the one who likely acted in self-defense.

With that established, the cast comes to the conclusion that Eva must have also sent the killer a card similar to the one Diana received, where Eva threatened them based on their secrets. This narrows down the possible killers to those who had never talked to the person who received their secret; based on this, we can eliminate Toshiko, Grace, Ingrid, Jean, and possibly a few others based on what conversations happened offscreen. Adding in the already discussed alibis, the suspects start getting narrowed down.

Because of that, Toshiko speaks up, saying there’s something she’s been keeping secret, but she isn’t sure she should anymore. This is probably where the logos/pathos path split is; Damon has to convince Toshiko to speak up either through a logical argument or by appealing to her emotions. Toshiko obliges, gives her testimony of her chat with Wolfgang in the morning, and also says he told her not to tell. There’s some angst here with Toshiko presumably being very scared while saying all of this, as she is betraying Wolfgang’s trust, but we’re kinda skipping that.

The cast starts freaking out here, obviously. Some are mad at Toshiko for concealing info, Ingrid’s defending her, people are trying to steer back the trial, some are saying Wolfgang’s the killer 100%, some are trying to say he couldn’t have possibly done it, all the bullshit. Wolfgang’s now trying to gun for Damon (let’s say Kai had talked to his person about his secret so we can rule him out), claiming his alibi isn’t good enough. However, Damon defends by bringing up that he can’t have washed off fast enough after a murder at 8:15 to then pretend to go back to sleep for Kai’s awakening at 8:30, at least when taking into account travel time between boiler and his room.

With all the secrets and the alibis, slowly Wolfgang starts seeming like the only real possibility. The Argument Altercation with him starts when he claims that Eva herself had had his secret, but she had asked him to keep that conversation secret at all costs, so he was just honoring her wishes. This would rule him out as stated before, but it’s obviously a desperate gamble that would only work if Eva genuinely had his secret, or if the person who had his secret didn’t call him out on it, but it’s all he has. The Argument Altercation ends with Damon epically revealing that he’s the one that received Wolfgang’s secret, and that he absolutely never talked to him about it. The trial doesn’t last very long after that.

The cast would obviously be devastated after this, because Eva tried to kill someone and Wolfgang not only killed her, but also wanted to kill everyone else to save himself. I think Wolfgang would end up trying to tell the others not to fall in the same pit of despair as he had when he realized what killing Eva meant. He hadn’t meant to kill her, after all, and he genuinely wanted (most of) the group to stay together. This leads to Diana doing the same chameleon speech as she did in canon, though with different wording and promises. Overall, it’s hard to talk about changes past this point, as we don’t even know how canon will go, but I imagine Damon’s, Diana’s and Toshiko’s character arcs would be greatly affected because of everything that happened. Damon would get worse if the others keep idolizing Wolfgang even after that (which could genuinely happen), Diana wouldn’t be using Wolfgang as a role model so much, and god fucking knows what kind of trust issues Toshiko would develop after all that.

That’s all from me, hope it was fun. Thanks for the ask, this was a really interesting thought exercise!

[frick-en]

With a Tender Kiss, I'll Love You Always

Well golly. I haven't written fanfiction in ages. Anyway, I'm obsessed with Justin Herbert and in a soft mood, so I want to write something that'll give you a cavity or two.

It's not that good, but I needed to write this. For some reason.

Enjoy!

P.S. I didn't read over this. It is as I have written it.

The knocking on the door continues as you struggle to lift yourself off your bed with crutches. Grumbling to yourself, you finally find balance. Or at least as much balance as you can for someone with one functioning leg.

You hobble to your front door and check the peep hole. You only see the torso of your vertically gifted friend and the cause of your current misfortune.

Convincing you to go skiing for the first time ever was something no one else could do, but Justin Herbert made a compelling argument. And by that, he really just told you that he really wanted you to go skiing with him. You know you shouldn't turn into such a following, babbling, love-stricken idiot around him, but you couldn't turn that part of your brain off when he was around.

You unlock the door and hobble back as you swing it open. Justin reaches out to catch you as you start to lose balance again. He's very good at doing that.

"You ok?" He asks you. You only nod in response, feeling another shooting pain stream through your leg all the way up to your hip.

You and Justin make your ways to the couch. Justin grabs your hand and helps you sit more comfortably, setting your crutches against the side table. A lot easier to do than throw them in floor, which usually ends up happening when you try to prop them up somewhere.

"I can still get you a scooter, you know." Justin offers.

"I'd rather you get me a surgeon who will fix me up today," You grumble.

Justin sits beside you and smiles at you. That's all he really had to do to get you to smile back at him. But you can see it in his eyes that he's beating himself up. He feels more guilty over this than anything he's done in his life.

"I don't think I'll ever be able to say sorry enough times for this."

"Justin, stop. I'm not mad at you," You reassure him, but you know he won't feel any better about this.

"You still have to wait another week till surgery, right?" He asks.

"Unfortunately."

"What do you need me to do until then?"

There was one thing about this whole ordeal that has made it even more difficult to get over. And it's the fact that you haven't been able to shower. It's too dangerous. You've been told to take sponge baths until after surgery. It's kinda ridiculous sometimes, but that's healthcare for you.

"It's kinda weird," You begin.

"Whatever it is. I'll do it."

"I need help," You struggle to say what you need to say. Justin is a good friend of yours, and while you harbor potentially unrequited feelings for him, you don't want to make him uncomfortable. Justin is such a good friend to you. He's the whole reason why you've been able to come out of your shell and actually enjoy a lot of life's fun little quirks. That was until you trip over a larger than expected rock while skiing down a mountain of hard snow.

Justin was the first person by your side. He carried you out of the line of other skiers and stayed with you at the hospital.

"Are you gonna say it? Or do I need to guess?" Justin asks.

"Sorry. I," You sigh. "Please don't get weird about this."

"Then tell me," He responds, poking your arm playfully. This gesture allows you to realize just how close he is sitting to you.

"I really need to shower. But they told me not to because I could get hurt, and because I don't have a bathtub, I can't sit in a bath either. I can only take sponge baths until after the surgery. I just feel really gross, and I think if I smelled less like vanilla ass, then I'll feel better."

"You want me to give you a sponge bath?" He asks.

"I just need help with one. I'm not gonna make you do everything," You explain.

You tell Justin that you need a bowl of soapy water, preferably warm along with your sponge and a towel or two.

"Is that all?" Justin asks.

"Have I told you lately that I love you?" You asks him noticing the slight pink tinge to his cheeks. Dimples on full display as he shakes his head.

"Thank you, Justin."

"You need me to stay here while you get cleaned up? I mean, in a different room."

"Sure. I might need your help," You respond. Justin nods and starts to walk away before you call him again, "Justin? Would you mind bringing me a clean shirt? I'm ashamed to say how long it's been since I've changed."

"Don't worry about it. I'll be right back," Justin responds. He walks back to your room and doesn't take long to bring back a familiar t-shirt. A green one with a big yellow "O" painted on it.

"I didn't know you had this," He says. "I've been looking for it honestly."

"I'm sorry. I couldn't bring myself to give it back."

Justin tosses you the shirt. He stands there waiting for you to give him your dirty clothes.

"Uhh... Sorry, I- Would you mind? Turning around?" You ask him.

"Oh! Sorry. I wasn't thinking," Justin turns around and holds his hand out for the shirt. You quickly switch t-shirts, deciding to wait until he leaves the room to take the shirt back off.

After taking your time to wash every crevice you could reach, you finally reach the most difficult part of this process. Your feet. You pull the leg of you sweatpants up and try to reach your sponge over to your feet. You feel that stinging, shooting pain again. And you're trying to clean your good foot. The splint on your other leg makes it surprisingly difficult in the position you're in to move your good leg.

You groan in pain and sit back on the couch. Taking a deep breath until the pain subsides. You sit back up and try to reach again with no luck.

You sigh. "Justin! You can come back in here now!"

Justin awkwardly enters the living room and sees you struggle to get your feet.

"You ok?" He asks. "You need help?"

"I'm sorry," You respond.

Justin walks over to the couch and crouches down in front of you. He puts the bowl of lukewarm water in the floor over a towel. He gently grabs your leg and adjusts so that you can be in a more comfortable position.

"That alright?' He asks, looking up at you. Eyes sparkling.

You feel like you swallowed a frog with the way he's looking at you. You nod. Justin holds your foot as he takes your sponge and gently scrubs.

"Is that warm enough?" He asks. So attentive to you.

"Yeah," You say with a raspy breath. Justin uses the towel to dry your foot off. He looks up at you again and smiles.

Not being able to stop yourself from talking, you say, "This is officially the weirdest thing I've ever done with a friend."

"Yeah." Justin says quietly as he moves to the more sensitive leg. He gently pulls the leg of your sweatpants up, gently grabbing your foot and even more gently scrubbing the foot. He notices the deep purples and reds that reach your calf. Those same colors that is causing the delay in your surgery.

"You good?" You ask him, being the worried one for a change.

"I just can't believe this happened to you. It's all my fault," He says.

"Justin."

"No. I'm the one who convinced you to go skiing when you said repeatedly you didn't want to."

"Justin. If I didn't want to go skiing then I wouldn't. I only went because it was you," You explain. Not even thinking. The things that a fresh sponge bath makes a girl do.

"Yeah. Cause I'm your friend," He says, going quiet again.

"Because I like spending time with you. I love spending time with you. And I'll do whatever you want so that I can keep spending time with you."

"What?"

"I'll do whatever you want so that I can keep spending time with you."

Justin looks up at you again. He stands on his knees to get a little closer to you.

"What do you mean by that?"

"You're smart enough to figure it out yourself, Herbert."

"Please, tell me."

"Don't make me say it."

Justin moves so that he's a mere centimeter from your face. Your lips just barely touch before you stop and pull him in for a hug. Justin doesn't think. He just hugs you back and savors the moment.

"I would let you kiss me, but I have shit breath right now too. I want my first kiss with you to be perfect."

"I don't care how smelly you think your breath is. But if you want to wait. I'm fine with that. I'm just glad we can finally be subtly honest with each other," Justin admits. You nod along in agreement before Justin touches a tender kiss to your forehead. You close your eyes and breathe him in. Afraid that he'll evaporate into thin air if you don't savor this moment yourself.

"I'll love you always, you know."

_____

That's all folks. I didn't really know how to end the story. But it's been a long time since I've written so please give me you most constructive criticisms please.

[broareweabouttoviberightnow]

Hi!!

I don’t know if your ask box is still open but if possible can you write an angsty Sodapop and Dallas fic? I don’t see enough of them and they are one of my favorite duos!

OH! I LOVE THESE TWO!!! I think I'm going to write a longer fic of them for ao3 but I LOVE this prompt!!! Fic below the cut!!! ty for the ask!!! (also if you would like to be tagged for the longer fic feel free to comment anon!!! if not NO problem at all!!)

"Soda, c'mon." Dallas puts his bony shoulder under Soda's, unsurprised when he feels Soda put a decent amount of his body weight on him.

Soda blinks up at him and his eyes are all blurry and wet and Dallas thinks shit, I let him drink too much. Three shot glasses are lined up in front of each of them, half a beer on Soda's side, two empty on Dallas'. Darry was goin' to kill him.

"Let's get out of here." Soda shrugs, grins that blindin' toothy smile up at him.

"I'm fine, Dally." And his words aren't slurrin' or anythin' so Dallas gives him one hard look over and lets it go. He'd cut him off for now. Soda always was a lightweight. Pony would claim it was 'cause Soda was already drunk on plain livin'. That sounded like poetic bullshit to Dallas but the plain facts were Soda 'n alcohol didn't mix well. Dallas didn't know what had compelled him to ask Soda to Buck's tonight.

Darry was gonna kick both their asses.

"Dallas?" Dally eyes two men, still mostly boys, at the other end of the bar and tries to assess whether they'll kick up a fight. Dallas knows what lookin' for trouble looks like.

"Hmm?" Soda tries to reach across the bar to get another drink and Dallas bats his hand away. Glory, those Curtis boys were makin' him soft.

"I don't think I've ever met anyone like you before. You know that?" Dallas pulls up short, furrows his brow, turns himself fully back to Soda. Steve had once described the look on Soda's face like starin' down the headlights of a Mustang 'n not bein' sure whether it was gonna hit you or not. Soda was prone to sayin' the damndest things outta nowhere.

"Yeah, you have." Dallas grabs a water Buck had poured for someone else and stubbornly ignores the glare the man shoots him. "You've met a thousand guys like me. Now drink this."

Soda takes the water Dallas shoves into his hand with a quirked brow. "No. I've met a hundred guys like the one you pretend to be. But you're one of a kind Dallas."

Dallas feels his nails dig into his palms. "That's it, man. You're cut off. You're gettin' sappy on me." Soda's laugh sounds like a gunshot and it jars Dallas' suddenly shot nerves.

"Now, what do we have here?" The line is so corny and overused Dallas can't help but flash his teeth in annoyance. When he glances over to tell the owner of the one-liner as much he catches a wave of whiskey breath and the two men from the end of the bar. No. Boys. Up close they're not even older than Darry.

"Beat it. We're not lookin' for company." He puts his hand down on the switchblade clipped to his jeans. Buck's was rough. Rough enough even havin' it in a pocket could slow you down too much.

"Dallas! Don't be rude." Soda flips around and he's showin' every damn tooth in his mouth and Dallas thinks glory he's worse than Pony the second you put a drop in him. No sense at all. Then he shakes himself because he sounds uncomfortably like Darry.

"Listen to you're friend here." The boy closest to Soda leers down at him with a smile like a broken bottle. "We're not lookin' for trouble. Just a bit a money." Soda cocks his head, waverin' slightly like he's just realizin' somethin' is wrong.

Before either of them can react Broken Bottle slides a knife out of his sleeve and against Soda's stomach. Soda tenses hard. Sobers instantly. Dallas thinks several things at the exact same time.

Fuck.

Darry was goin' to dig up their bodies 'n kill them.

Get the fuck away from my brother.

Dallas moves entirely on instinct. He grabs the boy closest to him, has his switch out 'n leveled against his gut before any of them blink. Soda doesn't move, back ramrod straight. But then he catches Dallas' eye 'n grins.

"Woah man, we're not lookin' for a fight." Broken Bottles' partner is white as a sheet, he's got his arms up like Dallas' got a gun aimed at his head. Even Broken Bottle looks suddenly unsure.

"C'mon Dallas." Soda's eyes are shinin' in the dim light and he looks like the fuse on a firework as it burns down to the gunpowder. "They don't want a fight. But, hey, give me your St. Christopher. I wanna do my last rights anyway." Dallas grabs his pendant with one hand, not movin' his knife at all, 'n pulls it right over his head, droppin' it in Soda's hands.

Broken Bottle jars his knife closer to Soda and he pauses. Looks at him with the full force of those headlight eyes. Soda wraps the chain around his knuckles like a rosary, Christopher out. Closes his eyes like he's gonna pray. Both boys shoot each other looks. They picked the wrong fight. Dallas 'n Soda were made for nights like these. But they were goin' to find that out by themselves.

"Glory," He opens one eye and his smile is like a Roman candle, "Forgive us for this." Soda's hand shoots out, connectin' with Broken Bottles' eye, the other hand comin' down on his knife, wrenchin' it free 'n tossin' it clear over the counter. Soda preferred a good skin fight. Dallas would happily go at it with anythin'.

Dallas moves the knife up to his boy's throat when he jerks to help Broken Bottle. The kid freezes instantly. New to this. Not from around here. He reeks like the middle class holdin' up a pair of Greasers for nothin' better to do.

He spares Soda a glance but he doesn't need any help. He's thrown his full weight at the man, sweepin' him onto the filthy bar floor and layin' punches wherever he can reach. Dallas hesitates for a second too long.

He feels the fist connect with his side before his can tense. It only knocks the wind from him for a moment. He pulls the knife back up and thinks about usin' it. Hard. But then the kid puts his fist up and in front of his face to hide his tremblin' lip and Dallas thinks, not for the first time, fuck Tusla's stupid fair fights. He tosses the blade onto the bar and cracks his knuckles against the kid's jaw.

Dallas has his partner backed against the bar, arms up again. God, what was the point of a fight if you were just gonna give it up before it got good. Soda clambers off the ground, tosses Dallas back his necklace and he catches it out of the air.

The fight doesn't have time to get interestin'. Soda slams Broken Bottles' head against the floor and he stops fightin' at all. Middle-class losers. Soda gives him more grace than Dallas would ever have. His knees pin the boy's elbows down as he lands one final belt straight to his eye. One to grow on. When he pulls his hand away the outline of St. Christopher is indented in the flat bone of the boys cheek.

He puts his foot down beside Broken Bottles' head and he looks just like a paintin' Pony had once shown Dallas in one of his art books. What the hell had it been? Michael. Warrior angel Michael. He shakes his head.

"You think they're done, Dally?" Dallas shoots them a cold glare and they both scramble back and away the second they can.

"They better be." Soda drapes an arm over Dallas' shoulders, wipes blood from his busted lip. They're both gone before the door can slam. Dallas turns when Buck's hand comes down on his shoulder. He passes him his discarded knife, pats him on the back twice, gestures for the door. Some hurrah.

Soda doesn't take his arm away as they both hit the street again. Dallas doesn't fight it.

"We should have cleaned that up before we left." Dallas gestures to the dryin' blood across Soda's mouth. He grins and licks his lips and runs a hand across his face.

"I think it makes me look tuff, don't you think?" And it does. Soda always left fights lookin' like the tragic JD with a heart of gold in those corny movies they showed at the drive-in. But Soda always had preferred beach flicks.

"Tuff enough Darry's gonna know we were in a bar fight the second we hit the porch." Soda howls his laughter and Dallas can't help but join in.

"Guess we'll have to take our chances. I wanna go home."

"Yeah, home." Dallas can't explain it. How it hits him sometimes. He didn't know how he'd ended up here. Somehow part of this dysfunctional little family full of greasers and hoodlums and kids just in the wrong place at the wrong time.

But that wasn't true, exactly.

"You know Soda," Soda shakes his hair from his eyes, grins at Dallas and out into a world that jumped you in bars just for lookin' like a grease like nothin' could touch him, "I think I owe everythin' to you, sometimes."

He'd followed Soda home from a corner store in '62. Then he'd turned around one day and ended up someone's kid brother. Life was funny that way.

Soda stops, studies him with those big eyes and Dallas thinks headlights. He's got that glow about him he always got after a good fight or a bad fight or a lame joke or a real smile. A car swings onto the street and Dallas blinks away the glare.

"Nah, Dally, you don't owe me anythin'." And he grins with his whole face, splittin' the dryin' cut on his lip 'n makin' it bleed again. "But next time we go to Bucks? Don't let me have any tequila shooters."

[flock-of-cassowaries]

The worst man.

…and I just realized something: By killing Marissa, Hannibal further alienated Abigail from any possible source of support.

Not that Marissa’s mother wanted her around Abigail anyway, but Ms. Schuur, far from being “rude” was fiercely loyal to Abigail - enough to reach out to her against the tides of public and parental opinion, and to defend her against Nick Boyle’s grief-fuelled confrontation.

I initially thought Hannibal killed Marissa primarily to frame Nick Boyle for Cassie Boyle’s murder, but now I think he was targeting Abigail almost from the jump.

I often see her role in the story reduced to that of “baby-trap baby”, but I think she was actually just as much of a target of Hannibal’s “I shall build myself a companion who understands and accepts my murdering!” fixation as was Will.

Like, from the way he seemingly casually slits her throat when Will rejects him, it’s easy to conclude that he never invested much in her.

…but it also seems possible that perhaps he thought she was just as much of a prospective companion as Will, albeit in a Father-Daughter Murder-Duo! way, rather than a “he ___ on my ___ until I ___ (and then we go murder some poor schmuck who didn’t smile at me while handing me my luxury goods purchase)” way.

I prefer this interpretation, personally, because it humanizes Hannibal just a little, while also allowing for the implication that perhaps he felt he was losing her just as much as he was on the cusp of losing Will at the end of s2.

I guess find it slightly less despicable to think that he killed at her because he knew that she would inevitably reject him now that he’d failed to get Will onboard (as opposed to reading it as purely a case where he could so easily reduce her to a means to do emotional violence to Will).

Like, ultimately, both are awful, because both fundamentally disrespect her as a person with agency, and abusive men who kill their partners and/or children rather than lose them are monsters.

But I think it’s a monstrousness I can almost understand as an extremely exaggerated, entitled, absolutely unforgivable version of something I have felt. Like, it’s not okay, I’m not making excuses for it at all, but at least I can kind of simulate the headspace?

If he’s just killing her to hurt Will, then… as a writer / audience member, I don’t know what to do with that. That’s an even further bridge for me, and I’m not trekking out there.

[ We probably all know this, but just for my peace of mind, Imma say it here:

Hannipologetics aside - anyone who ever threatens you, or your pets / loved ones should be excused from your life as quickly as you can manage while preserving your physical safety. Don’t fuck around.

Will may have been able to ‘change’ Hannibal, but Hannibal is a fictional character, vulnerable to the audience and author’s desire to write the story of a character who changes. Stories with no character arc are not terribly interesting.

In the real world, there is no such force compelling violent people to change, and they rarely do, especially in the context of relationships where they have previously been violent or threatening.

Also, the real-world levers we do have to pressure violent people to change - e.g. court-mandated treatment - are often woefully ineffective. ]

Honestly, I don't think we pay enough attention to how Hannibal "comforts" Marissa's mom after he kills her. It's so... cruel.

"Like a paternal shield" in regards of Abigail makes me feel so unwell.

[thatswhatsushesaid]

psa that the day there are no jgy stans left on tumblr dot com is the day i am dead

but rest assured i'll go to my grave exactly as i lived: obnoxiously proclaiming to everyone within earshot how great lianfang-zun is. narratively, metaphorically, spiritually. sexually, too, like why limit myself. i like to keep my options open

[yo-yo-yoshiko]

Just finished Return of Ultraman!! (i got really attached...)

[thorinlandscaping]

waaaaa they took away my male lead in the Only Straights Show from 2-3 seasons from now and made him a girl for some sort of WOKE AGENDA they're changing my badly written misogynist book series woe is me we need more straight rep!!! this is because i like their story not for any other reason!!! i'm bi as well!!! more straight romance!!!! no nonconformity!!!! the books!!!!!!!

[aroaessidhe]

2024 reads / storygraph

The Sword of Kaigen

standalone fantasy set in a rural mountain village at the edge of an empire that still holds traditional values, with families of powerful water/ice magic warriors

follows a powerful young heir who begins to question his beliefs about the empire when a new boy comes to his village from the city

and his mother, a housewife who has tried to forget her youth as a warrior and vigilante in the city since she moved back home to a loveless marriage

when there’s a violent attack on their village that they’re unprepared for, everything changes, and she has to embrace her old skills to protect her family and people

[shorthaltsjester]

taliesin and laura remain truly so fantastic at making characters who… don’t necessarily have something extremely and inherently in common but do have experiences that were caused by similar sources and that lead them to have quite different opinions/ideas about things but in ways that are typically very reconcilable? which is a lot of qualifiers but it’s a through line of vex/percy with nobility, jester & cad with loneliness (and also god stuff but in a different post maybe someday i’ll talk about how actually their god stuff is intensely related to their different experiences of loneliness), and now imogen & ashton with being left behind.

like vex was this character who technically had a claim to nobility due to her blood but at the same time was burdened because of that same claim. and percy who was born into and raised by nobility but that nobility ended up making his family the targets of a massacre. and then vex who lets down her walls and Do I Look Like I Come From Money? and percy giving her the title grand mistress of the grey hunt because it has nothing to do with blood, or his love for her, or anything aside from the fact that it’s something she can prove herself worthy of simply by virtue of who she Is, not who someone makes her. and percy and vex’s conversation about forgiveness and it’s necessity for growth as probably two of the characters most inclined to hold grudges.

and caduceus clay who gets left behind with nothing but his Belief while his family goes off into the world. and jester lavorre who gets shut inside with no company except her Belief as her mother protects her from the world. and they both get the burden of loneliness and the understanding of love’s nonmalicious imperfection. and caduceus having a panic attack on a ship and jester telling him that the world is a lot bigger than his cemetery and that means he has to break out of his comfort zone to find his path. and caduceus telling jester that he doesn’t think she gets as much credit as she ought to and she deserves more pastries. and jester thanking caduceus for showing her how cool it is to actually heal people and caduceus asking if she wants to use his shield while he doesn’t need it.

and ashton who was left broken and dying on the ground and was given inescapable pain as their means of survival. and imogen who was left behind by the only person who could provide true understanding of the pain she’d one day come to feel. and ashton who’s a barbarian, who wields their rage casually and unapologetically and who sees the Shittiness of the world but is unrelenting in his version of optimism. and imogen who is weighed down by pessimism she doesn’t Want to have but hasn’t cracked how to undo and who doesn’t admit her anger until it comes up again and again and again and carries it like a burden or like guilt, who we only see really Grasp and feel Confidence about her anger being something good in front of others when she has those conversations with ashton. and like. ashton who looks at imogen and sees a superhero. imogen venturing through ashton’s mind and holding his bleeding and exhausted head and saying i’m sorry. i’m sorry. and imogen who looks at ashton and sees someone special. and fucking “we got him killed.” and “no, we didn’t. don’t you dare. […] we are not what fucking killed that man. […] we are his eventual victory. we are his fucking revenge.” and “i’ll be his revenge.” and “i have no fucking doubt.”

and in general rp wise they both tend to make some of my favourite characters (also typically the ones i find most frustrating) because they both tend to make flaws that are easy to hate and they make those flaws very central to their characters but i think that’s also what makes their character interactions so deeply compelling because so frequently it’s like. yes yes these two characters have like. a helix of things they have in common but also things they deeply disagree on but they’re going to spider-man point at the things that are the same and they’re going to honour their differences while doing so. and it’s just. i always enjoy it so much and i was psyched when i heard about an imogen and ashton side pit stop in last nights episode and i was not let down when i watched the episode today.

[transvaltrans]

Looking back on the books I read this year, and was reminded of just how much Megan Whalen Turner's The Thief- absolutely frustrated and disappointed me. Spoilers ahead.

To some degree, this was going to happen; the whole series has been heavily hyped up to me, it's hard for any book to live up to such lavish yet vague praise. But, you know, I actually got through most of the book without being distracted by my own expectations. It was tense, and spare- it felt like every word mattered and hinted at an underlying truth. I love when books withhold from the reader, and nudge at you to consider what might be left unsaid. And I was so, so satisfied when my predictions paid off (totally called Gen palming the stone rather than losing it).

The worldbuilding was interesting and unique, I enjoyed that the author wasn't committed to a super specific and our-world-accurate timeframe for technology, and I found the characters compelling and variable. I always enjoy travel stories, nevermind stories about thieves.

Which is exactly why I was so annoyed by the ending.

Again: I love twists. I love being able to predict them, and I love being surprised. I did not feel like any of the twists in The Thief were unearned; it's a well-composed book, with plenty of foreshadowing.

However, one of the twists, despite being foreshadowed, absolutely blindsided me- because I would not have considered it as a possibility, due to undermining exactly what had me so excited to read The Thief in the first place. Fantasy literature sometimes shies away from politics, into pure escapism and fluff. Even some of my favorite fantasy books are pretty hollow when it comes to their fundamental beliefs, and shy away from challenging the status quo- unless it's to restore old glory (cough The Old Kingdom series).

But I can almost always count on stories about rogues, and thieves, and con artists, to at least bring up the issue of class. These characters so often come from disenfranchised backgrounds, from the poor and displaced. They're street rats and gutter scum, who have clawed their way up from the bottom, and never forget where they came from- can never forget, from the way others treat them. Theft is subversive; there's a reason we won't let go of Robin Hood, but even more self-motivated thieves often have something to say about the unfairness of wealth distribution. Stories about thieves almost always have something to say about the relationship between the wealthy and the poor.

So, yeah, I was really fucking annoyed at the reveal that Eugenides was actually the Queen's cousin. That pretending to be from a lower class background was so insufferable to him; that of course he's only so educated and knowledgeable because he's a noblemen, that it was so hard for him to pretend to be stupid and crass like a peasant. That the reason he was so pissed about being disrespected by his captors wasn't because they beat him and imprisoned him and insulted him constantly, that they treated him as less than human because he was poor and a criminal, a tool for their own use and disposal- but because he was one of them, and it injured his pride- his noble pride, not his human pride- to be treated like that. Like he wasn't one of them, and deserving of their respect.

Fuck, I hate it so much. It immediately took away my favorite parts of the book- the tension between Gen and the magus's companions, the weight of the magus having been a commoner once, the way Gen constantly stuck by himself and refused to just accept his shitty treatment- the way every monarch treated him as a means to an end. I thought there would be more tension in Gen having conflicted feelings of resentment and camraderie with the magus- I thought it would pay off with either some of them acting in his interest for once, and/or some of them rejecting their freindship and leaning back into that class difference between them.

I'm not opposed to Gen having been working for the mountain kingdom the whole time! But there are so many other ways to do that- I was suspecting that someone was holding his family hostage in some way. It's easy to imagine a story where Gen is a lower-class thief, who was also being used by his own country's royalty.

But, making Eugenides a nobleman is a subversion of the classic trope- which means it's clever and interesting. Uugh. It just exhausted me, and- disappointed me. I loved so much of this book, and it had been a while since I'd read a good low-fantasy story about thieves. It was suspenseful, with rich descriptions, and interesting character dynamics. I thought I was getting something like Fly By Night by Frances Hardinge, or The Goblin Wood by Hillary Bell- not necessarily stories about thieves, but stories about the underestimated and undervalued, peasant con artists and hedgewitches. But with more of the tension and bite of your average dnd rogue getting up to stupid shit (my go-to class since I was a kid).

I totally understand why people love this book. There is a lot I really admire within it. But man, I don't think I can get over how much that final twist- not just rejected my original interpretation of the story. That's fine, plenty of good science fiction or horror does that. But that it specifically rejects the character and story type of the lower class thief. The very name of the series, The Queen's Thief, had me expecting a story about that seeming contradiction; about the power imbalance, and a constant game of cunning, of maintaining autonomy despite being bound to a royal power. And I expect there will be some of that, in the later books; it just loses a lot of its appeal, when it turns out Gen himself is a nobleman, who was doing a favor for his cousin, the queen.

I liked that the book ended with more insight into the mountainous kingdom, and Gen's feeling of belonging and pride to a cultural group everyone else had been deriding- but that didn't have to be accomplished by him being related to the nobility of that country. None of this had to be accomplished through Gen being a nobleman; it just felt like a 'gotcha' subversion, taking away, rather than adding more.